Word: ra
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Dates: during 1960-1969
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...where to bristle, and the result is an unevenness in both the progress and the retrogression. Because of censorship, Czechs never get to see some of the best movies turned out by their talented directors; among the films that have not yet been screened in Czechoslovakia are Věra Chytilova's audacious Daisies (TIME, June 23) and Antonin Masa's Hotel for Foreigners. Few Czechs have been permitted out of the country to see their highly touted pavilion at Expo 67 in Montreal...
Controlled Trouble. Uri Ra'anan, an Israeli Kremlinologist who is professor of world politics at Tufts University's Fletcher School of Law and Diplomacy, observes that "ironically, the Soviets were not interested in whether these countries actually gained their aspirations. Russia was interested in giving arms, but not in their being used. The Russians found, as always, that it is easier to get in than to stay...
...dazzling color combinations. In subject, unfortunately, it is little more than another of Dada's precocious offspring. The leaden symbolism of the girls snipping pickles, sausages and bananas is only one example of a script that has all the consistency of an amateur happening. Director Věra Chytilová views her film as social commentary: "A necrologue about a negative way of life." The Daisies' nose-thumbing dedication-"To all those whose indignation is limited to a smashed-up salad"-suggests that its real theme is absurdity...
...Castro is not bending. Speculation about his worsening relations with Russia increased sharply last week when he announced that his brother, Raúl, Cuba's second-in-command and the island's main contact man with Russia, had been replaced "temporarily" as armed forces minister. Since it is getting $1,000,000 a day in Soviet aid, Cuba could hardly afford a complete break. But the new Russian overtures in Latin America do show that there is a split, and the split is widening...
...Mary Garden, and as debuts go, her magical performance at Paris' Opéra Comique that night might have been staged by her fairy godmother. The year was 1900, and Mary, Scotland-born and Chicago-reared, was an impoverished young soprano who haunted rehearsals at the Comique. Her moment came when, during a performance of Gustave Charpentier's Louise, the lead soprano suddenly collapsed after the second act. Panic-stricken, the director asked Mary if she could fill in. Though she had never sung on a stage before, much less with an orchestra, she pluckily replied: "Have...